1.
Opera
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Opera is an art form in which singers and musicians perform a dramatic work combining text and musical score, usually in a theatrical setting. In traditional opera, singers do two types of singing, recitative, a style and arias, a more melodic style. Opera incorporates many of the elements of theatre, such as acting, scenery. The performance is given in an opera house, accompanied by an orchestra or smaller musical ensemble. Opera is a key part of the Western classical music tradition, in the 18th century, Italian opera continued to dominate most of Europe, attracting foreign composers such as George Frideric Handel. Opera seria was the most prestigious form of Italian opera, until Christoph Willibald Gluck reacted against its artificiality with his operas in the 1760s. The first third of the 19th century saw the point of the bel canto style, with Gioachino Rossini, Gaetano Donizetti. It also saw the advent of Grand Opera typified by the works of Auber and Meyerbeer, the mid-to-late 19th century was a golden age of opera, led and dominated by Richard Wagner in Germany and Giuseppe Verdi in Italy. The popularity of opera continued through the era in Italy and contemporary French opera through to Giacomo Puccini. During the 19th century, parallel operatic traditions emerged in central and eastern Europe, the 20th century saw many experiments with modern styles, such as atonality and serialism, Neoclassicism, and Minimalism. With the rise of recording technology, singers such as Enrico Caruso, since the invention of radio and television, operas were also performed on these mediums. Beginning in 2006, a number of opera houses began to present live high-definition video transmissions of their performances in cinemas all over the world. In 2009, an opera company offered a download of a complete performance. The words of an opera are known as the libretto, some composers, notably Wagner, have written their own libretti, others have worked in close collaboration with their librettists, e. g. Mozart with Lorenzo Da Ponte. Vocal duets, trios and other ensembles often occur, and choruses are used to comment on the action, in some forms of opera, such as singspiel, opéra comique, operetta, and semi-opera, the recitative is mostly replaced by spoken dialogue. Melodic or semi-melodic passages occurring in the midst of, or instead of, the terminology of the various kinds of operatic voices is described in detail below. Over the 18th century, arias were accompanied by the orchestra. Subsequent composers have tended to follow Wagners example, though some, the changing role of the orchestra in opera is described in more detail below

2.
German language
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German is a West Germanic language that is mainly spoken in Central Europe. It is the most widely spoken and official language in Germany, Austria, Switzerland, South Tyrol, the German-speaking Community of Belgium and it is also one of the three official languages of Luxembourg. Major languages which are most similar to German include other members of the West Germanic language branch, such as Afrikaans, Dutch, English, Luxembourgish and it is the second most widely spoken Germanic language, after English. One of the languages of the world, German is the first language of about 95 million people worldwide. The German speaking countries are ranked fifth in terms of publication of new books. German derives most of its vocabulary from the Germanic branch of the Indo-European language family, a portion of German words are derived from Latin and Greek, and fewer are borrowed from French and English. With slightly different standardized variants, German is a pluricentric language, like English, German is also notable for its broad spectrum of dialects, with many unique varieties existing in Europe and also other parts of the world. The history of the German language begins with the High German consonant shift during the migration period, when Martin Luther translated the Bible, he based his translation primarily on the standard bureaucratic language used in Saxony, also known as Meißner Deutsch. Copies of Luthers Bible featured a long list of glosses for each region that translated words which were unknown in the region into the regional dialect. Roman Catholics initially rejected Luthers translation, and tried to create their own Catholic standard of the German language – the difference in relation to Protestant German was minimal. It was not until the middle of the 18th century that a widely accepted standard was created, until about 1800, standard German was mainly a written language, in urban northern Germany, the local Low German dialects were spoken. Standard German, which was different, was often learned as a foreign language with uncertain pronunciation. Northern German pronunciation was considered the standard in prescriptive pronunciation guides though, however, German was the language of commerce and government in the Habsburg Empire, which encompassed a large area of Central and Eastern Europe. Until the mid-19th century, it was essentially the language of townspeople throughout most of the Empire and its use indicated that the speaker was a merchant or someone from an urban area, regardless of nationality. Some cities, such as Prague and Budapest, were gradually Germanized in the years after their incorporation into the Habsburg domain, others, such as Pozsony, were originally settled during the Habsburg period, and were primarily German at that time. Prague, Budapest and Bratislava as well as cities like Zagreb, the most comprehensive guide to the vocabulary of the German language is found within the Deutsches Wörterbuch. This dictionary was created by the Brothers Grimm and is composed of 16 parts which were issued between 1852 and 1860, in 1872, grammatical and orthographic rules first appeared in the Duden Handbook. In 1901, the 2nd Orthographical Conference ended with a standardization of the German language in its written form

3.
Opera in German
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Opera in German is the opera of the German-speaking countries. These include Germany, Austria, and the German states that preceded those countries, German-language opera appeared remarkably quickly after the birth of opera itself in Italy. The first Italian opera was Jacopo Peris Dafne of 1598, in 1627, Heinrich Schütz provided the music for a German translation of the same libretto. Mozart took the simple, popular genre of Singspiel and turned it into something far more sophisticated, Beethoven followed his example with the idealistic Fidelio, and with Der Freischütz of 1821, Weber established a uniquely German form of opera under the influence of Romanticism. Webers innovations were eclipsed by those of Richard Wagner, one of the most revolutionary, Wagner also drew on Germanic mythology in his huge operatic cycle Der Ring des Nibelungen. After Wagner, opera could never be the same again, so great was his influence, the most successful of his followers was Richard Strauss. Composers at work in the field of opera today include Hans Werner Henze, as the names of Mozart, Weber, Wagner, Richard Strauss and Berg indicate, Germany and Austria have one of the strongest operatic traditions in European culture. The worlds first opera was Dafne by Jacopo Peri, which appeared in Florence in 1598, three decades later Heinrich Schütz set the same libretto in a translation by the poet Martin Opitz, thus creating the first ever German-language opera. As in Italy, the first patrons of opera in Germany and Austria were royalty and the nobility, antonio Cesti was particularly successful, providing the huge operatic extravaganza Il pomo doro for the imperial court in Vienna in 1668. Opera in Italian would continue to exercise a considerable sway over German-speaking lands throughout the Baroque, nevertheless, native forms were developing too. In Nuremberg in 1644, Sigmund Staden produced the spiritual pastorale, Seelewig, which foreshadows the Singspiel, Seelewig was a moral allegory inspired by the example of contemporary school dramas and is the first German opera whose music has survived. Another important development was the founding of the Theater am Gänsemarkt in Hamburg in 1678, the new opera house opened with a performance of Johann Theiles Der erschaffene, gefallene und aufgerichtete Mensch, based on the story of Adam and Eve. The theatre, however, would come to be dominated by the works of Reinhard Keiser, Keiser drew on foreign operatic traditions, for instance he included dances after the model of the French tradition of Lully. The recitative in his operas was always in German so the audience could follow the plot, the hallmark of the Hamburg style was its eclecticism. Orpheus by Telemann contains arias in Italian setting texts taken from famous Handel operas as well as choruses in French to words originally set by Lully, Hamburg opera might also include comic characters, marking a great contrast to the elevated new style of opera seria as defined by Metastasio. Yet the immediate future belonged to Italian opera, the most famous German-born opera composer of the era, Handel, wrote four operas for Hamburg at the beginning of his career but soon moved on to write opera seria in Italy and England. In 1738, the Theater am Gänsemarkt went bankrupt and the fortunes of serious opera in German went into decline for the few decades. The other leading German composers of the time tended to follow Handels example and this was because the courts of the various German states favoured opera in Italian

4.
Die Abreise
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Die Abreise is a comic opera in one act by composer Eugen dAlbert. The libretto was written by Ferdinand Sporck, a friend of the composer, after a play by August Ernst Steigentesch, Eugen dAlbert composed the opera in 1896. The score was published by Brockhaus in 1898, and is now available from Boosey & Hawkes, the opera was first performed 20 October 1898 at the Alte Oper in Frankfurt, under the baton of Ludwig Rottenberg. Time and place, the hall of a summer residence in central Germany. Gilfen and Luise have been married for years, and the passion in their relationship has dimmed considerably. Gilfen has been planning to undertake a journey, but he has postponed his departure every time because he was afraid his wife would take advantage of the situation. Trott, a friend of the couple, is in love with Luise, gilfen plays along and takes leave from his wife, faking his departure. Trott immediately seizes the opportunity, but Luise rejects him, gilfen then returns to find that his wife has been faithful to him. Now it is Trotts turn to leave, gilfen and Luise finally have time for each other again and they decide to renew their love. In 1998 CPO released a recording made in 1978 at the Recklinghausen Festspielhaus, jános Kulka conducted the Philharmonia Hungarica, the singers were Hermann Prey, Edda Moser and Peter Schreier. András Batta, Opera - Komponisten, Werke, Interpreten

5.
Abu Hassan
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Abu Hassan is a comic opera in one act by Carl Maria von Weber to a German libretto by Franz Carl Hiemer, based on a story in One Thousand and One Nights. It was composed between 11 August 1810 and 12 January 1811 and has set numbers with recitative and spoken dialogue, the work is a Singspiel in the then popular Turkish style. Abu Hassan was first performed at the Residenz Theater in Munich on 4 June 1811, Abu Hassan is not now part of the commonly performed operatic repertory, though it is sometimes staged. The overture is, however, well known and has been recorded many times. Abu Hassan, a favorite of the Caliph of Baghdad, is heavily in debt. To retrieve his fortunes, he sends his wife Fatima to the Caliphs wife, Zobeide, to announce his death, for which Fatima will receive 50 pieces of gold, after Fatima has set off, creditors enter Abu Hassans house to collect money. Omar, the richest creditor, is tricked into believing that Fatima has spoken to him of love, Fatima returns with the presents from Zobeide. Abu Hassan now goes to visit the Caliph, intending to try a similar story about his wife, while he is out, Omar reappears and demands a kiss from Fatima, but Abu Hassan returns. Omar hides in a room, and the husband and wife enjoy his fear of being discovered. Now Mesrur, a messenger from the Caliph, arrives, to see if Fatima really is dead, both the Caliph and his wife want to know who it was who died, and if both, who died first. Mesrur, seeing Fatima lying on the divan, her husband in apparent distress at her side and he has only just gone, when Zobeides nurse runs in on a similar errand. This time it is Hassan who feigns death, while Fatima is all tears, finally the Caliph and his wife are announced. Hassan and Fatima throw themselves on the divan, covering themselves, the Caliph now offers 1,000 gold pieces to anyone who will tell him which of them died first. Hassan revives and throws himself at the Caliphs feet, saying It was me - I died first and he asks for a pardon, as well as the gold. Fatima does likewise, and the Caliph pardons them both, Omar, having paid off Hassans debts in the hope of winning Fatimas heart, is sent away in disgrace. The opera has been recorded by Wolfgang Sawallisch, Leopold Ludwig, Gustav Kuhn and Gennady Rozhdestvensky, a recording by Heinz Rögner with the Staatskapelle Dresden features Ingeborg Hallstein, Peter Schreier and Theo Adam. Cappella Coloniensis, conducted by Bruno Weil, recorded it in 2003, notes Sources Amadeus Almanac, accessed 7 October 2008 Grove Dictionary of Music and Musicians, second edition Holden, Amanda, The New Penguin Opera Guide, New York, Penguin Putnam, Inc. com

6.
Agnes von Hohenstaufen
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Agnes von Hohenstaufen is an opera in three acts by the Italian composer Gaspare Spontini. The German libretto is by Ernst Benjamin Salomo Raupach and it was first staged at the Königliches Opernhaus, Berlin on 12 June 1829. Raupach categorised Agnes von Hohenstaufen as an opera and it is one of a number of German works of the time set in the Middle Ages. Agnes also contains many of the features that would be characteristic of French Grand Opera, Spontini substantially reworked the piece for a revival in 1837. Place, Germany Time, The Middle Ages The action concerns the struggle between the Holy Roman Emperor Henry VI and the leader of the noble Welf faction, Henry the Lion, Henry arrives at Mainz disguised as a troubadour. The French ambassador proposes that Agnes should be married to his king, Philip II Augustus, the emperor agrees and the betrothal is announced at a banquet. Henry, unable to bear the French ambassadors flirting with Agnes, is moved to anger, the emperor condemns him to death and banishes Agnes to a convent. This highhandedness provokes a mutiny amongst some of the nobles, Henry is offered his life providing he renounces Agnes and goes into exile. He angrily rejects these terms just as the mutinous nobles burst in, Henry tries to escape in the confusion but is captured by the French ambassador, who proposes that they should fight a duel the next day. The emperor agrees but gives secret orders to have Henry killed during an escape bid, Henry does indeed manage to break out of prison and reach Agnes in church, where the two are quickly married. The French ambassador is furious and only the intervention of the archbishop prevents a duel in church, Henry and Agnes plan to flee to the army of Henry the Lion, but they are captured. Henry agrees to fight the duel with the French ambassador and mortally wounds him and he is revealed to be none other than King Philip Augustus himself, who had wanted to see his betrothed before the marriage. Irmengard, Agnes mother, now announces that the wedding between Henry and her daughter has taken place. The emperor is furious but he provokes another mutiny among the nobles, Henry unexpectedly draws his sword to defend the emperors authority. At this point Henry the Lion arrives in person to announce his army has taken Mainz, the dying French king pardons the young Henry. The emperor blesses the couple and encourages his subjects to unite for an expedition to Italy. Although the original libretto is in German, only Italian-language versions of the opera have hitherto been recorded and filmed, germania Günther von Schwarzburg Die Rheinnixen Lohengrin Sources Holden, Amanda, The New Penguin Opera Guide, New York, Penguin Putnam,2001. ISBN 0-140-29312-4 German libretto by Ernst Raupach, agnese di Hohenstaufen, Italian version of the opera on YouTube

7.
Alfonso und Estrella
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Alfonso und Estrella, D732, is an opera with music by Franz Schubert, set to a German libretto by Franz von Schober, written in 1822. Along with the later Fierrabras, composed in 1823, it marks Schuberts attempt to compose grand Romantic opera in German, unlike Fierrabras, it contains no spoken dialogue. In close collaboration with von Schober in the region of Sankt Pölten, Schober, only one year older than the young Schubert, and a dabbler in literature, music and theatre, was enthusiastic about the collaboration. Schubert and Schober shared an appreciation for the theories of Ignaz von Mosel, a patron of Schuberts. Schubert never heard the opera performed in his lifetime, Opera houses in Vienna, Berlin, Dresden and Graz all had refused to stage it. The opera received its premiere performance in Weimar on 24 June 1854, Liszt had published an essay on the opera in advance of the first Weimar performance, and also had made cuts to the score for the production. Subsequent productions in the 1880s were in Karlsruhe, Vienna and Berlin, the first UK stage premiere was at Reading University Opera on 22 February 1977. The opera did not receive a complete, uncut performance, even the realisations in Graz, a repeated criticism of the opera is its lack of dramatic action and pacing. Elizabeth Norman McKay has noted how Schubert incorporated his understanding of the music of Gioachino Rossini into the opera, till Gerrit Waidelich has published a monograph on the opera, detailing its history in composition and performance. At other times, however, strong lines, rich orchestration. Alfonso is the son of the deposed King Froila, of León, Froila is concerned that Alfonso is anxious to lead a revolt against Mauregato, the usurper of Froilas throne. At the court of Leon, Adolfo, a general, is in love with Estrella. However, Mauregato has said only the man who has the Chain of Eurich may marry Estrella. Angry at being denied Estrella in marriage, Adolfo plans a coup against Mauregato, during a hunting expedition, Estrella is separated from her party. She and Alfonso meet and fall in love, unaware of the identity of the other, Alfonso gives Estrella a necklace that he has always carried, and directs her on a safe path home. Back at court, she tells her story, and Mauregato recognizes the necklace as the Chain of Eurich, before he can tell her of its meaning, the rebellion led by Adolfo has begun, and Adolfo captures Estrella. Alfonso learns that Estrella is Mauregatos daughter, and then sides with Mauregato against the rebels, Mauregatos forces defeat Adolfo, and Alfonso rescues Estrella. However, Mauregato has a crisis of conscience, and he restores Froila to his throne, in turn, Froila gives up his power to Alfonso and Estrella

8.
Alkmene (opera)
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36, is an opera in three acts, with music and libretto by Giselher Klebe. Klebe based the libretto on Amphitryon by Heinrich von Kleist, which in turn was based on Molières play of the same name, the composer dedicated the work to his mother, the violinist Gertrud Klebe. The opera was commissioned for the opening of the current building of the Deutsche Oper Berlin where it premiered on 25 September 1961, Jupiter enlists Mercury to plan a new seduction of a mortal, specifically Alkmene, wife of the Theban field commander Amphitryon. Amphitryon is in the conflict of Thebes against Athens, because Jupiter cannot present himself in his true form to Alkmene, he chooses to appear as Amphitryon. The god appears to Alkmene and makes love with her, with Alkmene thinking that this is her husband who has returned early from battle, the next morning, the servant Sosias announces Thebes victory over Athens and the return of the Theban army. He sees a double of himself, who is actually Mercury, Alkmene then sees Amphytrion for what she thinks is the second time so soon after his recent return. Amphitryon becomes suspicious of his wifes fidelity, and summons witnesses to attest that he did not leave the camp during the night. Alkmene is pained at these suspicions, however, Jupiter appears and tells Alkmene that her partner the night before was no mortal, but the supreme god himself. The army commanders appear, and they and the Thebans see two Amphitryons, at first, they believe Jupiter to be the Amphitryon. However, the god reveals his identity, and also tells Alkmene that she has conceived a child. Jupiter leaves in his sun carriage, Alkmene awakens in her husbands arms, the two of them reconciled. Boosey & Hawkes page on the opera

9.
Antigonae
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Antigonae, written by Carl Orff, was first presented on 9 August 1949 under the direction of Ferenc Fricsay in the Felsenreitschule, Salzburg, Austria, as part of the Salzburg Festival. Antigonae is in Orffs words a musical setting for the Greek tragedy of the name by Sophocles. However, it functions as an opera, Orff used the German translation of Sophocles play by Friedrich Hölderlin. The original play was written in 442 BC, and the German translation copies faithfully the mood, with this work Orff drew a line in his musical output, setting up a demarcation between pre-Antigonae and post-Antigonae style. Hölderlins translation into lines of ecstatic German inspired the declamatory technique Orff uses for the first time in much of Antigonae and it pre-dates a similar style of the minimalist school by about 50 years. In this way Orff creates unusual sound effects that both the dramatic and psychological setting of the original Greek tragedy with emotional color ranging from the ecstatic to the orgiastic. Much of the singing is performed a cappella, frequently an ostinato in the orchestra builds up an almost unbearable tension which is resolved only in the final bars of the piece. Orff frequently uses the technique called Singstimmen, which is halfway between singing and speaking, somewhat like Schönbergs Sprechgesang, but still within the language of work. The sense of antiquity is often enhanced when the text is treated psalmodically in a manner resembling Gregorian Chant. Another early device found in Antigone is the melisma, where many notes are assigned to a single syllable, the structure of the work, its heavy emotional content, its novel fabrics of sound, all demand more of the listener than required in the usual opera performance. While Antigone has never been popular, it has set new standards for the orchestra, the singers. The opera begins in the morning following a battle in Thebes between the armies of the two sons of Oedipus, Eteocles and Polynices. King Kreon, who ascended the throne of Thebes after both brothers are killed in battle, decrees that Polynices is not to be buried, Antigonae, his sister, defies the order, but is caught. Kreon decrees that she be buried alive in spite of the fact that she is betrothed to his son, Haemon. The gods, through the blind prophet Tiresias, express their disapproval of Kreons decision, which convinces him to rescind his order, however, Antigonae has already hanged herself rather than be buried alive. When Kreon arrives at the tomb where she was to be interred, his son, Haemon, attacks him, finally, when Kreons wife, Eurydice, is informed of Haemons and Antigonaes death she, too, takes her own life. At the end of the play, and the opera, Kreon is the principal left alive. According to the score, which is published by Schott Music and this orchestra is to be well screened from the audience when the opera is performed

10.
Arabella
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Arabella, Op.79, is a lyric comedy or opera in three acts by Richard Strauss to a German libretto by Hugo von Hofmannsthal, their sixth and last operatic collaboration. It was first performed on 1 July 1933, at the Dresden Sächsisches Staatstheater, the opera received its premiere in the UK on 17 May 1934 at Londons Royal Opera House. Two decades later, on 10 February 1955, it was performed at the Metropolitan Opera in New York with Eleanor Steber in the title role, the Met has given 58 performances of the work since that date. In 2008, the production by Opera Australia won the Helpmann Award for Best Opera, productions since 2012 have included performances in Vienna, Tokyo, Paris, Salzburg, Nuremberg, Hamburg, Budapest, Amsterdam, The Santa Fe Opera and Minneapolis. Time, 1860s Place, Vienna In a hotel in Vienna As the curtain opens, the fortune teller predicts Arabella will marry a man from far away, but that trouble may be in store. The Waldners have a daughter, Zdenka, but since they cannot afford two daughters marrying, they have indulged her tomboyishness by pretending she is a boy, whom they present as Zdenko. Zdenka secretly loves Matteo, an officer who loves Arabella. To prevent him from committing suicide, Zdenka writes him love letters she signs with Arabellas name, Zdenka reproaches Arabella for her unsympathetic treatment of Matteo, but Arabella says that she is hoping for the Right Man, to whom she can give her heart completely. Count Waldner, in dire straits, has written to all his friends for financial help and he was hopeful for an answer from an old and immensely wealthy Croatian friend of his, Mandryka, even sending him a portrait of Arabella in hopes of a marriage. A visitor announced as Mandryka arrives and Waldner is surprised to see that it is not his friend, the man explains he is Mandrykas nephew, also named Mandryka. His uncle is dead, and as his heir, he has acquired his fortune, he also received the letter. From seeing the portrait, he has fallen in love with Arabella and he offers to marry her and gives Waldner money. A carnival ball is to be held that night, Matteo asks Zdenko, his supposedly male friend, when he will receive another letter from Arabella, Zdenko answers that he will have one that very evening at the ball. In a ballroom Arabella meets Mandryka, who turns out to be her fascinating stranger, Mandryka tells her about his life and his countrys customs, in which young women offer their fiancés a glass of water as a token of agreeing to be married. Meanwhile, Zdenka gives Matteo a letter with the key to the next to Arabellas, saying that it is Arabellas room. Mandryka overhears this conversation and, mad with jealousy and disappointment, raises a commotion, flirting with the Fiakermilli, since Arabella is nowhere to be found, the Waldners insist that he meet Arabella to talk things out, and they head for the hotel. A lobby in the hotel A passionate orchestral prelude depicts the lovemaking of Matteo, Arabella enters the lobby and comes across Matteo. As Matteo is in love with Arabella and thinks it is she with whom he has just made love in a room, their conversation is at once confused

11.
Ariadne auf Naxos
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Ariadne auf Naxos, Op.60, is an opera by Richard Strauss with a German libretto by Hugo von Hofmannsthal. Combining slapstick comedy and consummately beautiful music, the theme is the competition between high and low art for the publics attention. Charlotte Erwin has studied in detail Strauss pre-sketch planning for the opera, bryan Gilliam has examined the theme of Verwandlung in the opera. The opera was conceived as a 30-minute divertissement to be performed at the end of Hofmannsthals adaptation of Molières play Le Bourgeois gentilhomme. Besides the opera, Strauss provided incidental music to be performed during the play, in the end, the opera occupied ninety minutes, and the performance of play plus opera occupied over six hours. It was first performed at the Hoftheater Stuttgart on 25 October 1912, the combination of the play and opera proved to be unsatisfactory to the audience, those who had come to hear the opera resented having to wait until the play finished. The opera-and-play version was produced in Zürich on 5 December 1912, the Munich premiere followed on 30 January 1913 in the old Residenztheater, a venue which was inferior for the presentation of opera, both acoustically and due to lack of space for the musicians. Hofmannsthal overruled the conductor Bruno Walters preference for the Hofoper, on the grounds that the theatre was more suitable for a work of this kind. The cast included the American Maude Fay as Ariadne, Otto Wolf as Bacchus, Strauss, being a native son, had a close association with Munich and was held in high regard, but had to miss the performance as he was on a concert tour in Russia. The audience openly expressed its disapproval of the piece by hissing after the first act, for the succeeding performances, Walter introduced cuts and moved the production to the Hoftheater, and the attendance began to improve. The 1912 version was produced in Berlin beginning on 27 February 1913. In London the early version was eight times at His Majestys Theatre beginning on 27 May 1913. The Hofmannsthal adaptation of Molières play was presented in an English translation by W. Somerset Maugham under the title The Perfect Gentleman, the opera was sung in German with Eva von der Osten, Hermine Bosetti and Otakar Marák, conducted by Thomas Beecham. The reviewer in The Musical Times found the music for the play to be more attractive than that for the opera. However, the orchestration of the opera was thought to be peculiar, and in the finale, in 2012, the Salzburg Festival revived the first version, staged by Sven-Eric Bechtolf, and sung by Emily Magee, Elena Moșuc and Jonas Kaufmann, with conductor Daniel Harding. He also moved the action from Paris to Vienna, Strauss was initially reluctant, but he composed the prologue in 1916, and this revised version was first performed at the Vienna State Opera on 4 October of that year. The most important aria in either version is Zerbinettas Großmächtige Prinzessin, other important pieces of the opera are the arias of Ariadne Wo war ich. Ein Schönes war and Es gibt ein Reich, also of note is the Composers aria Sein wir wieder gut

12.
Ariadne auf Naxos (Benda)
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Ariadne auf Naxos is a duodrama in one act by Czech composer Jiří Antonín Benda with a German libretto by Johann Christian Brandes. It was commissioned by Abel Seyler, whose theatrical company arrived in Gotha in 1774, the operas first performance was at the Schloss Friedenstein, Gotha, on 27 January 1775. Ariadne auf Naxos belonged to the known as German melodrama. Brandes wrote the text of Ariadne auf Naxos for his wife Charlotte and she played the part of Ariadne in the premiere. The basis for Brandes libretto was a cantata by Heinrich Wilhelm von Gerstenberg, Mozart attended a production of Ariadne auf Naxos and became a great admirer of Bendas compositions. In 1778 he wrote to his father expressing the desire to compose a duodrama entitled Semiramide on the model of Bendas Ariadne auf Naxos and he believed at the time that melodrama was the way to solve the problems of operatic recitative. However, Mozart never got around to creating a duodrama and he did create a miniature melodrama within his unfinished operetta, Zaide, written in 1780. Other composers who admired and were influenced by Bendas melodramas include Carl Maria von Weber, although not performed often, Bendas Ariadne has remained in the performance repertoire since it first premiered and a number of recordings of the work have been made. Most recently, the work was performed in August 2005 at the Edinburgh International Festival in a bill with Mozarts Zaide. The cast included Dagmar Manzel as Ariadne and Rainer Trost as Theseus, charles Mackerras conducted the English National Opera orchestra. Ariadne is sleeping on the shore of the island of Naxos, as Theseus, her lover, Theseus feels there is a destiny placed upon him and feels that he can not stay tied to Ariadne and fulfill that destiny. He slips away from Ariadne on his ship, leaving her alone on Naxos. Ariadne awakes to find herself deserted by the faithless Theseus, Benda Melodramas, Ariadne auf Naxos/Pygmalion with conductor Christian Benda and the Prague Chamber Orchestra. Cast, Brigitte Quadlbauer and Peter Uray, released in 1996 on the Naxos label. Melodrama, Carl Eberweins Proserpina and Georg Bendas Ariadne auf Naxos with conductor Peter Gulke, released in 1997 on the Gold label

13.
Arlecchino (opera)
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Arlecchino, oder Die Fenster is a one-act opera with spoken dialog by Ferruccio Busoni, with a libretto in German, composed in 1913. He completed the music for the opera while living in Zurich in 1916 and it is a number opera written in neo-classical style and includes ironic allusions to operatic conventions and situations typical of the late 18th and early 19th centuries. It even includes a parody of a duel, the premiere performance was on 11 May 1917 at the Stadttheater, Zürich. Busonis two-act opera Turandot was also performed on the program as part of a double-bill, the first British staged performance of Arlecchino was in 1954 at Glyndebourne. However, Edward Clark had produced a version in London in 1939. The opera is in four movements with a representation of Arlecchino in each of them. ARLECCHINO als Sieger The roles in Arlecchino are derived from the Italian commedia dellarte and it is unusual in that the title role of Arlecchino is primarily a speaking role. The composer has said that Arlecchino has a tendency to ambiguity, ronald Stevenson has described it as an anti-opera, and an anti-war satire. Larry Sitsky describes the music as tightly integrated and largely based on the row appears as a fanfare at the commencement of the opera. And Henry Cowell has characterised this composition as the opera to betray knowledge of Schoenbergs early style before Wozzeck. Because Arlecchino was too short in duration for an evenings entertainment. Orchestra,2 flutes,2 oboes,2 clarinets,2 bassoons,3 horns,2 trumpets,3 trombones, timpani,3 percussion, the opera, which is in one act, consists of a prologue and four movements. It is set in Bergamo, Italy, around about the 18th century, prologue, Arlecchino, in mask and motley costume, appears in front of the curtain to the sound of a fanfare and delivers a brief speech about the ensuing action. The curtain rises to reveal a meandering and hilly street in the upper city, the door to Matteos house is front left, the entrance and sign of a wine pub are further along the street, upper right. First movement, Arlecchino as Rogue 1, ser Matteo, the tailor, sits in front of his house sewing and silently reading. He becomes more animated and begins to read aloud in Italian the story of the love of Paolo. Ironically, through a window above, Arlecchino can be making love to Matteos beautiful young wife. Matteo thinks of Don Juan as he contemplates the prospect of the two lovers being condemned to hell, and the orchestra softly quotes the Champagne Aria from Mozarts Don Giovanni

14.
The Baden-Baden Lesson on Consent
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The Baden-Baden Lesson on Consent is a Lehrstück by the German dramatist Bertolt Brecht, written in collaboration with Slatan Dudow and Elisabeth Hauptmann. Brechts programme note described the work as unfinished and as the product of various theories of a musical, dramatic, the final chorus of Lindberghs Flight appears at the beginning of The Baden-Baden Lesson on Consent. Cruelty, violence and death are explored by the play, which broaches the subject of complicity between the helper and the forces of power and violence, the action concerns a wrecked flight crew being brought to terms with their non-existence. While the pilot complains that he must not die, the others accept that their significance lies in being anonymous parts of a larger whole, despite the controversy, the production was a critical success. Performances in Vienna, Munich, Mainz, Dresden, Breslau, Schott Music published Lehrstück the same year with Hindemiths score. Brecht almost immediately began revising and took exception to Hindemiths performance notes sanctioning cuts. Brecht approached Schott directly and it was from the publisher that Hindemith learned of the changes in the text. Brechts text was published in 1930 in vol. two of his Versuche and Schott was forced to take the score out of print, one disagreement concerned the suitability of the clown scene. In two letters to his wife Hindemith observed that the scene was better spoken than played and, later, each dug in his heels and after a 1934 radio broadcast in Brussels neither allowed performances of the others version. Brecht eventually published his revision in his Collected Plays but there were no public performances until a revival opened on 14 May 1958 in New York, the relation between these and the Lehrstück fragment is not as straightforward as the table suggests. The first two are a splitting of Hindemiths #1, whereas Brechts #3 is a merging of the original first. Notes Sources Schotts page on Hindemiths score

15.
Bastien und Bastienne
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Bastien und Bastienne, K.50 is a one-act singspiel, a comic opera, by Wolfgang Amadeus Mozart. Bastien und Bastienne was one of Mozarts earliest operas, written in 1768 when he was twelve years old. After its supposed premiere in Mesmers garden theater, it was not revived again until 1890 and it is not clear whether this piece was performed in Mozarts lifetime. The first known performance was on 2 October 1890 at Architektenhaus in Berlin, the opera is written in both French and German manners. Many of the melodies are French in manner, but Bastiennes first aria is true German lied and this melody is also used in Mozarts Trio in G for Piano, Violin and Violoncello, K.564. Another purely German lied is Bastiennes aria I feel certain of his heart, Mozart utilizes the orchestra sparingly, with the exception of the reconciliation scene. Mozarts overture uses the opening theme as Beethovens Symphony No. It is doubtful that Beethoven was familiar with this then unpublished piece, a likely explanation is that both composers took the theme from another unknown source. Although he was young, Mozart already had excellent vocal writing skills. Bastien und Bastienne is possibly the easiest to perform of Mozarts juvenile works, before she can leave, however, she runs into Colas, the village soothsayer. Bastienne requests the help of his powers to help win back her Bastien. Colas knows all about the problem, and comforts her with the knowledge that Bastien has not abandoned her, rather and his advice is to act coldly towards Bastien, which will make him come running back. Bastien is heard approaching, so Bastienne hides herself, Bastien swaggers in, proclaiming how much he loves Bastienne. Colas informs him that Bastienne has a new lover, Bastien is shocked and asks the magician for help. Colas opens his book of spells and recites a nonsense aria filled with random syllables, Colas declares the spell a success and that Bastienne is in love with Bastien once more. Bastienne, however, decides to keep up the game a bit longer, Bastien threatens suicide, which Bastienne merely shrugs off. Finally, the two decide that they have gone far enough and agree to reconcile, Colas joins them as they all sing a final trio in praise of the magician

16.
Die beiden Neffen
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Die beiden Neffen, also known as Der Onkel aus Boston, is a three-act Singspiel by Felix Mendelssohn to a libretto by Johann Ludwig Casper. Die beiden Neffen was written by between May 1822 and 1823, during which time Mendelssohn celebrated his fourteenth birthday, the libretto was by Casper who had provided books for his three previous Singspiels, Die Soldatenliebschaft, Die beiden Pädagogen and Die wandernden Komödianten. Die beide Neffen was the last of their collaborations and these pieces were designed for performance within the family circle at the musical gatherings regularly organised by Felixs father Abraham Mendelssohn. Die beiden Neffen was performed in the house of the Mendelssohn family on or around Felixs 15th birthday. The dialogue for the act has been lost, but has been reconstructed, enabling the first modern performances, on 3 October 2004. There is also a CD recording conducted by Helmuth Rilling, baron von Felsig has returned unexpectedly from New England. The consequent problems of mistaken identities and misunderstandings fill out an undistinguished storyline leading to a happy ending. Zychowitz, Mendelssohn Bartholdy, Der Onkel aus Boston, Opera Today,30 September 2005 Helmuth Rilling conducts the overture to Der Onkel aus Boston Extract from 1st act of same performance

17.
Der Bettelstudent
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However, the librettists added the element of combining love and politics to the French comedy plots. It premiered in Vienna in 1882, a German film adaptation, The Beggar Student, was directed by Georg Jacoby in 1936 and a West German film adaptation, The Beggar Student, was directed by Werner Jacobs in 1956. The work was performed first at the Theater an der Wien, Vienna and it was a success and allowed Millöcker to retire from conducting. Johann Strauss II rejected the libretto in favor of A Night in Venice, the piece played at the Thalia Theatre in New York City in 1883 and then in English at the Casino Theatre in 1883. It was revived in New York at least three times, in 1898 at the American Theatre, in 1899 at the American Theatre and it was also performed in London at the Alhambra Theatre in 1884, in a four-act version. The operetta has been filmed at least four times – once in English and it has also been performed on German television. Recent productions in English include Ohio Light Opera, and Light Opera Works, place, Kraków, Poland Time,1704 Colonel Ollendorf seeks revenge against Laura Nowalska, who rebuffed him with her fan, offended by his advances. Lauras mother declares that only a Pole and nobleman can be her son-in-law and he releases a seemingly penniless student and his friend to pose as a millionnaire and his aide, to entice the bankrupt but venerable Nowalska family. Laura agrees to marry Symon, and Janicki falls in love with Lauras sister, the money that the colonel supplied to Symon is just about gone and he is no longer able to keep up the appearance of nobility. He and Laura have developed feelings for each other and he struggles with the decision to tell her the truth. He writes a letter confessing the ruse, the colonel senses that the letter will end the plot, and convinces Lauras mother not to open it. When the wedding ceremony is over, the colonel reveals the truth about Symon, the Governor-General discovers that Janicki knows the whereabouts of the Polish grand duke and bribes him with 200,000 thalers to reveal his location to the Austrians. Janicki asks Symon to impersonate the grand duke until the money for his capture can be paid, in return, he is knighted by King Stanislaus and accepted by his wife and mother-in-law. Die Messe beginnt, Chorus & Ensemble Einkäufe machen sollten wir eigentlich, es geht ganz famos Ich knüpfte manche zarte Bande, Ensemble & Song – Ollendorf – Laura – Bronislawa – Symon – Jan – Palmatica – Chorus Du bist die Seine. Duet – Jan – Bronislawa Soll ich reden, darf ich schweigen, – Ich setz den Fall, Duet – Symon – Laura Glückliche Braut. Dir strahlet hell das Leben, Ensemble – Symon – Ollendorf – Palmatica – Jan – Laura – Chorus Mit Geld und guten Worten, Couplet – Ollendorf Klinget, Feierglocken, trinkt uns zu, trinkt uns zu Tempo di Mazur Heidahi, heidaha. Ach, ich hab sie ja nur auf die Schulter geküßt, Finale Act II – Ollendorf – Symon – Enterich – Laura – Bronislawa – Palmatica – Jan – Chorus Act 3 Lumpen, Bagage, Bettelstudent. Der Fürst soll nur ein Bettler sein, Introduction – Bronislawa – Chorus Ich hab kein Geld, bin vogelfrei, Couplet – Symon Still, man kommt

18.
Bluthochzeit
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Bluthochzeit is an opera in two acts by Wolfgang Fortner. The libretto, also by Fortner, is based on Enrique Becks German translation of García Lorcas 1933 play Bodas de sangre and it premiered at the Cologne Opera on 8 June 1957. Fortner was asked by Karl-Heinz Stroux to write music for a performance of Lorcas play Bodas de sangre in Hamburg in the early 1950s. The composer was impressed by the drama and felt that acting was not enough to sing the tragedy to an end, Fortner wrote the operas libretto himself based on Enrique Becks German translation of the play. Bluthochzeit, a literary opera like Alban Bergs Wozzeck and Lulu, is driven by the action, as the composer comments and he scored the work for singing and speaking parts, following the text which is at times in prose, at times in poetry. Fortner used dodecaphony but included traditional Spanish instruments, such as mandolins, castanets, tambourine and this new opera premiered on 10 May 1962 at the Cologne Opera. Bluthochzeit premiered at the Cologne Opera on 8 June 1957 in a directed by Eric Bormann. It was the first world premiere to be staged in the opera house. The performance by Stuttgart Opera in 1964 was filmed live and released on DVD in 2005, the opera was chosen to open the Opernhaus Düsseldorf with a performance on 12 October 1986 by the Deutsche Oper am Rhein, conducted by Hans Wallat and staged by Kurt Horres. Bluthochzeit was revived in January 2013 with a new production at the Wuppertal Opera, directed by Christian von Götz, Bluthochzeit – Gürzenich-Orchester and chorus of Cologne Opera conducted by Günter Wand. Label, Profil PH05044 Bluthochzeit – Orchestra and chorus of Stuttgart State Opera conducted by Ferdinand Leitner, Bluthochzeit – orchestration and roles Wuppertal Opera. Bluthochzeit – production photos and commentary on the January 2013 production

19.
Boulevard Solitude
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It became Henze’s first fully-fledged opera. The work stands out for its strong jazz influences, from a composer who had hitherto been associated with twelve tone technique, the premiere was given on 17 February 1952, at the Landestheater Hannover. Although it never became part of the operatic repertoire, Boulevard Solitude continued to receive performances after the premiere. It was given in both Naples and Rome in 1954 and it received its UK premiere in London by the New Opera Company at Sadlers Wells in 1962 where the cast included Peter Glossop, the first performance in the United States was at The Santa Fe Opera in 1967. The opera continues to be performed and is popular with audiences, with a London revival in 2001 going on to sell heavily despite much negative critical reception, a new production by Welsh National Opera in 2014 was also well received. Scene 1, The waiting room of a train station in a large French city. The student Armand des Grieux meets a woman by the name of Manon Lescaut. Armand instantly falls in love with Manon, and the two run off to Paris together, Scene 2, An attic in Paris. The two live happily, although in poverty, in an attic room. Armand has been cut off by his father on account of his dissolute lifestyle, however, Manon’s brother reappears during Armands absence and convinces her to visit an admirer of hers, the wealthy older man Lilaque Sr. Scene 3, An elegant room in Lilaque’s house. Manon becomes Lilaque Sr. ’s mistress, but remains in love with Armand and her brother appears and begs her for money. When she refuses him saying that she has none, he breaks into Lilaque Sr. ’s safe, however Lilaque discovers them and evicts Manon. Scene 4, The library of the university, sometime later, Armand, Francis, and some other students are studying the work of the Roman poet Catullus. Armand is still in love with Manon but this love is fading, Francis tells Armand about Manon’s robbing Lilaque and her expulsion from his house, but Armand doesn’t believe it. Francis leaves angrily and Manon enters, Manon and Armand read a poem that revives their love. Manon and Armand are together again, Armand is addicted to drugs in order to try to forget the past. Lescaut brings him cocaine in a bar and asks for Manon, when Manon arrives Armand gets angry with Lescaut and Lalique Jr. Manon tries to calm him and then leaves with the two men. Armand receives the message that Manon wishes to see him the next day, Scene 6, The apartment of Lilaque Jr. Armand and Manon are together in Lilaque Jr. ’s bedroom

20.
Die Brautwahl
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Die Brautwahl is a comic-fantastic opera in three acts and an epilogue by Ferruccio Busoni. The German libretto, by Busoni himself, is based on a story by E. T. A. Hoffmann. Busoni began work on this, his first completed opera, in 1905, die Brautwahl was first performed at the Stadttheater in Hamburg on 12 April 1912. It was not a success with audiences but its failure did not discourage the composers ambition to write for the operatic stage, the artist Edmund is in love with Albertine but he has many rivals for her hand. These include the revenant Manasse, his son Baron Bensch and the bureaucrat Thusman, the bridal choice of the title is finally decided by a trial involving three caskets which Edmund wins

21.
Capriccio (opera)
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Capriccio, Op.85, is the final opera by German composer Richard Strauss, subtitled A Conversation Piece for Music. The opera received its premiere performance at the Nationaltheater München on 28 October 1942, clemens Krauss and Strauss wrote the German libretto. However, the genesis of the came from Stefan Zweig in the 1930s. Strauss then took on the libretto, but finally recruited Krauss as his collaborator on the opera, most of the final libretto is by Krauss. The opera originally consisted of a single act lasting close to two and a half hours and this, in combination with the works conversational tone and emphasis on text, has prevented the opera from achieving great popularity. The final scene for Countess Madeleine can often be heard as an excerpt, Capriccio received its American professional premiere at The Santa Fe Opera in 1958 after the Juilliard School staged it in 1954 with Gloria Davy and Thomas Stewart as the aristocratic siblings. The theme of the opera can be summarized as Which is the greater art and this question is dramatized in the story of a Countess torn between two suitors, Olivier, a poet, and Flamand, a composer. Place, A château near Paris Time, About 1775 At the Countess Madeleines château, Olivier and Flamand debate the relative powers of words and music. They engage in a furious argument which is semi-spoken rather than sung in definable arias. The theatre director La Roche wakes from a nap, and reminds them both that impresarios and actors are necessary to bring their work to life. Olivier has written a new play for the Countesss birthday the day, which will be directed by La Roche, with the Count. La Roche, Olivier and Flamand proceed to a rehearsal, the Count, the Countesss brother, teases his sister about her two suitors, Flamand and Olivier, and tells her that her love of music is due in part to the attentions that Flamand pays her. In turn, she tells her brother that his love of words is in keeping with his attraction to the actress Clairon, the Countess admits that she cannot decide which of her suitors she prefers. Clairon arrives, and she and the Count read a scene from Oliviers play and they leave to join La Roche at the rehearsal. Olivier tells the Countess that he means the sonnet for her, Flamand then sets the sonnet to music, while Olivier declares his love for the Countess. Flamand sings them his new composition, accompanying himself on the harpsichord, Olivier feels that Flamand has ruined his poem, while the Countess marvels at the magic synthesis of words and music. Olivier is asked to make cuts to his play and leaves for La Roches rehearsal, Flamand declares his love for the Countess and poses the question – which does she prefer, poetry or music. She asks him to meet her in the library the next morning at 11 and she orders chocolate in the drawing-room

22.
Cardillac
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Cardillac is an opera by Paul Hindemith in three acts and four scenes. Ferdinand Lion wrote the libretto based on the short story Das Fräulein von Scuderi by E. T. A, the first performance was at the Staatsoper, Dresden on 9 November 1926. It was promptly performed throughout Germany, Hindemith revised both the score and the text, for the reason that, according to Ian Kemp, the musical idiom seemed crude and undisciplined. This second version was first performed at the Zurich Stadttheater on 20 June 1952, hans-Ludwig Schilling has published a comparison of the two versions. After 1953, Hindemith sanctioned only the 1952 revised version for theatrical performances, however, after the composers death in 1963, the original version became available again for production. The operas Italian premiere took place in 1948 at the Venice Biennale as part of the Venice Festival of Contemporary Music XI, the American premiere took place at The Santa Fe Opera in 1967 using a staging by director Bodo Igesz. The New Opera Company presented the first staged UK performances in March 1970 at Sadlers Wells, the setting is Paris in the 17th century. Scene 1 The crowd is agitated about a series of recent mysterious murders, the goldsmith Cardillac enters the scene and the atmosphere becomes hushed. The Lady asks the Cavalier about the goldsmith Cardillac, and the Cavalier tells of the goldsmith, the Lady promises the Cavalier a tryst that evening if he can bring her Cardillacs most beautiful work. Scene 2 The Lady and the Cavalier enjoy their tryst and the Cavalier delivers one of Cardillacs belts, a masked figure steals into the bedroom and fatally stabs the Cavalier. The Lady faints and the mysterious figure leaves with the belt, the Gold Merchant mentions to Cardillac the latest murder that involved the theft of a recent work of Cardillac. The Gold Merchant has his suspicions about the identity of the murderer, Cardillac orders his daughter to watch over his work. She does so and awaits her lover, the Officer, Cardillac returns, and it becomes clear that he values the articles he has crafted more than he does his daughter. He then meets the King and offers to create his greatest work of art for him, the Officer enters to ask Cardillac for his daughters hand in marriage, and Cardillac consents. Though the Officer realizes how much Cardillac values his creations over his own daughter, after the Officer leaves, Cardillac indicates that he himself is the murderer. In a tavern, the Officer wears the chain, presenting himself as a target for the murderer, Cardillac enters and wounds the Officer, but the Officer beats back the attack and holds on to the chain. The Gold Merchant then brings on a crowd and accuses Cardillac of the murders, Cardillac is brought in, followed by his daughter. The Officer defends Cardillac, rebuts the Gold Merchants accusation, in the ensuing ensemble, Cardillacs daughter realizes her father is the murderer

23.
Charlotte Salomon (opera)
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Charlotte Salomon is an opera by Marc-André Dalbavie. The libretto is by Barbara Honigmann who based much of it on Charlotte Salomons autobiographical, the opera was first performed at the Salzburg Festival on July 28,2014. Is of an artist fashioning her own life into an artistic creation, Dalbavie said that the intrinsically musical and even cinematic qualities of Leben. Combined with an attraction to real-life drama inspired him to compose an opera based on Charlotte Salomon, since Salomon was aiming for a form of communication that combined various arts, Dalbalvie felt that her story needed music. He was quoted as saying She recreated her life through a work of art, the opera includes a character representing the author Charlotte Salomon, and also her fictive creation, named Charlotte Kann. While the opera is sung in French, the character named Charlotte Salomon comments on the action in German, by the end of the opera, the languages are reversed, representing the integration of the artist her subject. Dalbavies orchestrations derives from his analysis of the human voices acoustic frequencies, Dalbavie described the scoring of the opera—for 65 orchestral musicians —as one designed not as much for dramatic impact as for maximum tonal richness. Charlotte Salomon is in two acts and an epilogue and it was first performed at the Salzburg Festival on July 28,2014, where it was directed by Luc Bondy. The production involved twenty projections of Salomons artwork

24.
Chlestakows Wiederkehr
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Chlestakows Wiederkehr, op.149, is an opera in three acts by Giselher Klebe. He also wrote the libretto, based on the play Der Revisor by Nikolai Gogol, the work lasts about 70 minutes. The opera premiered on 11 April 2008 at the Landestheater Detmold and it is Klebes first and only comedic opera. His adaptation of the text is loosely based on Gogol. The role names above are spelled as in the German text, interview, Stuke, Franz R. Ohne Melodie gehts nicht

25.
Das Christ-Elflein
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Das Christ-Elflein is an opera in two acts by Hans Pfitzner to a German-language libretto by Pfitzner and Ilse von Stach. The work was premiered in 1906 as a Christmas play by von Stach with incidental music by Pfitzner. It was later revised by the composer into an opera which premiered in Dresden on 11 December 1917. Das Christ-Elflein began life as incidental music by Pfitzner for a Christmas fairy-tale play by the German writer Ilse von Stach and this version premiered on 11 December 1906 at the Prinzregententheater in Munich conducted by Felix Mottl with the actress Maja Reubke in the title role. The premiere was not a success, the German critic Eduard Wahl wrote, It would fain be simple and childlike, it is childish. It would fain be religious, it is sentimental and it would fain be serious, it is in bad taste, it is ridiculous. During the summer of 1917 Pfitzner revised the work as a two-act spieloper and he adapted and shortened the play and turned some of the speaking and silent roles into ones for singers. Otto Klemperer was an admirer of the work, but Bruno Walter spoke of it as a Lernaean serpent who had slain Hercules, the revised version continues to be performed occasionally in German-speaking countries, e. g. The opera was broadcast on German television NWDR in 1955, conducted by Wilhelm Schüchter with Anneliese Rothenberger in the title role, Tannengreis expresses his dislike and mistrust of humans. Frieder appears in the forest on his way to the village doctor and his sister Trautchen is dying and he no longer believes in God. He tells the elf that he too has no time for his questions about Christmas, the Christ Child appears and announces that he will bring Trautchen the Christmas tree this year. Elflein is fascinated by him, but Tannengreis warns him to stay away from humans, after a dance by young men and forest maidens prevents the servants from cutting down a tree, angels appear to announce that it is Christmas Eve, a holy night. The Christ Child leaves for the von Gumpach house, act 2 The von Gumpach house on Christmas Eve Herr von Gumpach scolds Franz and Jochen for not having returned with a Christmas tree. They protest that they have seen the living Christ Child, but he doesnt believe them, Tannengreis comes looking for the little elf and is hidden behind the stove by Frieder. Trautchen is brought into the room, and Knecht Ruprecht arrives with village children to explain the tradition of the Christmas tree, the Christ Child appears with the little elf bringing the tree for Trautchen but tells everyone that he has also come to bring the sick child to heaven. The elf takes pity on Trautchen and offers to take her place, the Christ Child agrees, grants the elf a soul, and gives permission for him come back to earth every Christmas to visit Tannengreis. His new name will be Christ-Elflein, Christ-Elflein is brought up to heaven by the angels. Trautchen is cured, Frieder regains his belief in God, all present join in the Christmas celebrations

26.
Christus (opera)
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Christus is an opera in seven scenes with a prologue and epilogue by Anton Rubinstein, written between the years 1887-1893 to a libretto after a poem by Heinrich Bulthaupt. Christus was described by its composer as a sacred opera and this is a term invented by Rubinstein, denoting staged works with use of polyphonic choruses and a sober, edifying style relying on ‘exalted declamation’. Rubinstein composed three other works of this type, Sulamith, Moses and Der Thurm zu Babel, a fifth sacred opera, Cain, was uncompleted at his death. Rubinstein considered Christus to be his finest composition, parts of the work were performed in Berlin in April 1894, and Rubinstein conducted a complete performance in Stuttgart on 2 June 1894. This was in fact his last public appearance as a conductor, the work received a further series of complete performances, at Bremen, in 1895. Applause between scenes and after the performance was forbidden, apparently the work was not revived until a performance in Tyumen in 2002, conducted by the composers great-grandson, Anton Sharoyev. This was also therefore the works first performance in Russia, a recording of part of the work was made from live performances under Sharoyev in St. Petersburg in 2003. Christus treats the life of Jesus according to the New Testament and it is made up of the following scenes, Outside the stable at Bethlehem, the three kings arrive to pay homage. Jesus arguing with Satan in the desert His baptism by John Jesus performs miracles, Jesuss anger in the Temple The last supper and Jesuss arrest The trial before Pilate The crucifixion, demons and angels battle. St Paul leads praise of Christ, anon, Sleeve notes to recording of Christus, Anton Sharoyev conducting Tyumen State Philharominc Orchestra,2003, Zvuk ZV -1103207 Graham Dixon and Richard Taruskin. Grove Music Online accessed 17 April 2010 H Krehbiel, A Second Book of Operas, accessed 17 April 2010 Charles Maclean, R. Taruskin, Christian Themes in Russian Opera, A Millennial Essay. Cambridge Opera Journal,2, pp. 83–91

27.
Der Corregidor
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Der Corregidor is a comic opera by Hugo Wolf. The German libretto was written by Rosa Mayreder-Obermayer, based on the short novel El sombrero de tres picos by Pedro Antonio de Alarcón, Wolf composed the opera in 1895 and revised it in 1897. The score is published by C. F. Peters, the opera was first performed at the Nationaltheater Mannheim on 7 June 1896, under the baton of Hugo Röhr. Gustav Mahler made an arrangement of the operas prelude, time and place, in and around an unnamed village in Andalusia, in the year 1804. Scene 1, Tio Lukas is picking grapes and preparing his millyard for the arrival of an unnamed Bishop, the neighbor taunts Lukas, saying that the only reason people show him any favor is because he has such a pretty wife. The neighbor leaves, and Lukas climbs up into an arbor to continue his preparations, scene 2, Frasquita enters the yard and sets the table while singing to herself. Lukas surprises her from the arbor and teases her about the affections of the Corregidor, Lukas spies the Corregidor approaching with Repela, his servant, and goes back into hiding in order to spy on the old man’s conversation. Scene 3, Repela enters, taking a pinch of snuff, Frasquita tells him that Lukas is asleep, which Repela is interested to know. He runs off to tell his master that Frasquita is apparently alone, scene 4, The Corregidor approaches Frasquita, who flirts with him and dances a fandango. He is afraid that her dancing might wake Lukas and she threatens to wake Lukas, but relents when the Corregidor urges her not to. The Corregidor is so taken by Frasquita that he is dumbstruck for a moment. He begins to woo her, and she seizes the opportunity to press for a favor she has already requested many times. The Corregidor refuses, and his advances become ever more ardent, in his passion, he loses his balance and crashes to the ground. Lukas takes this cue to reveal himself, the couple ridicules the old man, who, realizing that Lukas has heard the entire exchange, childishly vows his revenge. Frasquita offers him some grapes in order to him. Scene 5, Repela, who has also been watching the scene, enters. He is interrupted by the sound of the Bishop’s arrival in the distance, Lukas and Frasquita rush off to finish their preparations, while the Corregidor sends Repela off to set his revenge plan in motion. The Bishop approaches amid an onstage brass fanfare, scene 1, In the kitchen at the millhouse, Lukas and Frasquita are eating dinner and discussing, first teasingly, then passionately, how happy they are together

28.
Dantons Tod (opera)
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Dantons Tod is an opera by Gottfried von Einem to a libretto by Boris Blacher and Gottfried von Einem after Georg Büchners 1835 play of the same name. Its first performance took place in Salzburg on 6 August 1947, the successful premiere of Gottfried von Einems opera Dantons Tod at the 1947 Salzburg Festival and its quick staging by European houses were due to more than the strong drama of Einems score. This was a first step toward the rehabilitation of German musicians after World War II, Dantons Tod dramatizes legalized governmental terror, a plague which the world at the time realized had not been eradicated with the end of the war. Dantons Tod was adapted from Georg Büchners play by von Einem, the protagonist is Georges Danton, a leader in the French government during the Revolution. When he turned against Robespierres tactics—including terror—he was guillotined in April 1794, the operas first act establishes Dantons confrontation with Robespierre. In the first scene Danton and Camille Desmoulins express their desire for an end of the executions to a group of their friends playing cards. Scene two introduces the volatile crowd, Robespierre enters and in an aria sways the crowd and promises more executions. After Danton leaves, Robespierre and his colleague Saint-Just decide that he, in the last scene of the act Danton announces to Camille and his wife Lucile that he is to be arrested, but he refuses to flee. Act 2 depicts Dantons trial and death, two scenes before the Revolutionary Tribunal are separated by one with Danton and Camille in prison. Lucile comes to see Camille, she has lost her reason, in the trial scenes the crowd swings between demanding Dantons death and falling under the spell of his eloquent oratory. At the end, in the Place de la Révolution, the prisoners sing La Marseillaise in counterpoint to the crowd dancing the Carmagnole. After the crowd disperses, Lucile enters and sits on the steps of the guillotine and she cries Es lebe der Konig and is arrested as the curtain falls. These changes make for a dramatic beginning and ending and add to a score that deserves more frequent revivals than it has seen to date. Paul Schöffler as Danton, Julius Patzak as Desmoulins and Maria Cebotari as Lucile and this is a live recording taken from the premiere in Salzburg on August 6,1947 with the Vienna Philharmonic and Vienna State Opera Chorus conducted by Ferenc Fricsay. A recording is available on Allegro Corporations Opera DOro label, theo Adam, Werner Hollweg, Horst Hiestermann, Krisztina Laki, ORF Chor & Orchester, Lothar Zagrosek Orfeo 1983

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Daphne (opera)
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Daphne, Op.82, is an opera in one act by Richard Strauss, subtitled Bucolic Tragedy in One Act. The German libretto was by Joseph Gregor, the opera is based loosely on the mythological figure Daphne from Ovids Metamorphoses and includes elements taken from The Bacchae by Euripides. The opera premiered at the Semperoper in Dresden on 15 October 1938, originally intended as a bill with Strauss Friedenstag, but as the scale of Daphne grew. The conductor of the first performance was Karl Böhm, to whom the opera was dedicated, the chaste girl Daphne sings a hymn of praise to nature. She loves the sunlight as trees and flowers do, but she has no interest in human romance. She cannot return the love of her childhood friend Leukippos, and she refuses to put on the clothes for the coming festival of Dionysos. Daphnes father Peneios tells his friends he is certain that the gods will soon return among men and he advises preparing a feast to welcome Apollo. Just then a mysterious herdsman appears, Peneios sends for Daphne to care for the visitor. The strange herdsman tells Daphne that he has watched her from his chariot and he promises her that she need never be parted from the sun, and she accepts his embrace. But when he begins to speak of love she becomes fearful, at the festival of Dionysos, Leukippos is among the women wearing Daphnes dress, and he invites her to dance. Believing him to be a woman she agrees, but the strange herdsman stops the dance with a thunderclap, Daphne answers that both Leukippos and the stranger are in disguise, and the stranger reveals himself as the sun-god Apollo. Daphne refuses both her suitors, and Apollo pierces Leukippos with an arrow, Daphne mourns with the dying Leukippos. He asks Zeus to give Daphne new life in the form of one of the trees she loves, Daphne is transformed, and she rejoices in her union with nature. This transformation scene, the metamorphosis, is silvery in the string section. Notes Sources Kennedy, Michael, in Holden, Amanda, The New Penguin Opera Guide, New York, ISBN 0-14-029312-4 BBC Opera guide, Daphne. Daphne, roles, synopsis, German libretto Daphne, Scores at the International Music Score Library Project